Decorations / Installations
Decorations
De natura rerum
Stereophotography is a precedent that creates the illusion of relief by superimposing two photographs taken from the same object or place, but from slightly different points of view, recreating the distance between the two eyes. It is hundreds of points of view that Cyril Hatt needs to recreate the relief without going through the optical illusion.
If we look more closely, the illusion does not hold: moped, car, appliances, pairs of shoes and all the objects that will want to be caught up in Cyril Hatt’s photographic ambiguities, are not reconstructions but ghosts. Hollow, empty, hastily glued with the means of the edge, they are in more ways than one, illusions. Illusion of the image, illusion of the relief, illusory temptation to possess the body and soul of the image.
With summary technical means (a digital camera, a basic printer, everyday consumer paper) and foolproof patience, Cyril Hatt reconstructs, often in the roughness caused by the setching of the images, what has fallen before his lens. Common objects, modern temptation, obligatory tools, everything goes. To say that any object (even consumption) is an illusion? He would then join the symbolic order of still life of the sixteenth and seventeenth centuries. A silent world, a life waiting.
Observation and patience therefore allow him to reconstruct humble forms where use and wear come together. Here mopeds, cars, electrical appliances and household tools, pairs of shoes or cameras are no longer caught in fashion or temptation. By depriving them of their seduction, by resembling them like puzzles, by weakening everything that made their market value, Cyril Hatt smuggles them on the art side.
François Bazzoli
Installations
A fanatic of the chisel and photography, Cyril Hatt seems to take some pleasure in playing with our perception of volume. Since 1999, he has been conducting a work in which photography, envisaged as material, undergoes a series of diversions. Thus, his images are fragmented, exploded or reconstructed, scratched, scratched, torn and “restapled”.
From 2003, photographic volumes appeared in its production. The photographed objects, often inspired by Street Art, are reproduced on their scale in 3D, after having therefore undergone a series of alterations and montages. They thus tend to recompose “scapes of images” dispossessed of their original function, while remaining images from our daily lives. Paradoxically tinkered and sophisticated, the result is particularly disturbing. These objects ultimately have only their fragility to offer us, thus making them sensitive and detaching them from the playful or anecdote.
Nicolas Rosette
